Roman Fresco Wall Plaster Collection

D-section hoop with expanding shoulders enclosing a rectangular bezel, intaglio depicting a profile bearded bust wearing a laurel wreath; supplied with a museum-quality impression. 9.14 grams, 26.16 mm overall, 18.96 x 17.33 mm internal diameter (approximate size British P, USA 7 1/2, Europe 16.23, Japan 15)



Ex London gentleman's collection, 1990s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13128-249407.

Translucent with straight sides narrowing to the dimpled base, flared and rolled rim, the body decorated with two horizontal ribbed lines. 105 grams, 10.5 cm



Swiss private collection, Bern. Swiss private collection, Basel. with Sayd & Fayez Barakat & Sons, Bethlehem and Jerusalem. Accompanied by a certificate of authenticity from Shaher Barakat, Jerusalem.

The Hebrew word 'zekhukhith' (glass) appeared in the Old Testament, but it was frequently used in the Mishnaic Hebrew and in correlation with the Aramaic 'zegugita'. In the Talmudic times white and coloured, transparent glasses were very valuable. This magnificent goblet was found on Mons Scopus, in Jerusalem and it shows the skill and the capacity of the Roman glass blowers of the time. After the establishment and unification of the Roman Empire under Augustus (27 B.C.), glass manufacturing quickly travelled throughout the Empire, and with the ease of production, glass entered the same sphere of use and popularity as metal and clay vessels.

His head turned slightly to the right, calm and idealised facial expression with heavy-lidded eyes defined by incised irises and drilled, crescent-shaped pupils, and a neatly trimmed beard; his wavy hair crowned by a Corinthian helmet, pushed back high on the forehead; wearing a cuirass decorated at the centre with a small gorgoneion, and a chlamys secured by a brooch on the left shoulder; mounted on a later variegated stone socle. 45.2 kg, 68.5 cm



European private collection, 18th century (based on the restoration techniques). Private collection, France, acquired on the Marseilles art market in the late 1960s. Sotheby's, London, 13th June 2016, no.18. UK collection, acquired from the above auction. Sotheby's, Ancient Marbles: Classical Sculpture and Works of Art, 3-9 July 2020, no.30. Accompanied by copies of the relevant Sotheby's 2016 catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13115-249591.

The sculpture has undergone both ancient and modern intervention. The back has been hollowed out in modern times, indicating that it was originally part of a tondo. Restoration is visible to the tip of the nose, the lower edges of the helmet’s cheek-pieces, and a small area of drapery. There is minor reworking to parts of the drapery folds and the brooch, as well as light retouching to the proper right corner of the lower lip and possibly the right side of the moustache. A small area of fill is also present on the restored nose of the helmet. In style, the bust belongs to the Late Antique tradition of ideal sculpture. The simplified facial features and distinctive eye treatment closely recall a comparable head in the Vatican, dated to the late 4th century AD. The military dress and iconography strongly suggest that the figure represents the Roman god Mars, comparable to known images of Mars Ultor. The Corinthian helmet, restored with a sculpted nose-guard, reflects an 18th-century restoration practice well attested in Roman collections, including examples from the Villa Albani.